• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.142-163
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• 2020

In the early Joseon dynasty, the meritorious vassals' portrait of Jeokgae (1467, 1476), Jeongguk (1506)·Jeongnan (1507), and Wisa (1545) were defined as the 2^nd period of the official uniform, in which the acheongsaek HeukDanryung appeared and settled. A total of seven portraits were analyzed, including three portraits of Jeokgae (1467, portrait production 1476) Son-so, Oh Jachi, and Jang Malson, and four portraits of Jeongguk (1506)·Jeongnan (1507) Yoo Sunjung, Hong Gyeongju, Lee Woo, and Yoo Hong. In the portrait of the Jeokgae wearing a Yebok HeukDanryung, in the case of the Samo, the height of the Samo, which had been raised at the beginning of King Seongjong, was lowered again, and the parietal part was rounded. The pattern was not expressed on the wide oval side wings of the Samo. In addition, the pattern was not expressed on the acheongsaek Danryung, Dapho, and Cheolrik. The colors of Dapho and Cheolrik were unified in green and red, respectively. The Mu of Danryung and Dapho was expressed as 'in and out wrinkled Mu', and the shoes were expressed in Baekhwa. Another feature is that the Jeokgae's portrait is expressed not as the Pumgye at the time of appointment, but as the Pumgye of the portrait production time. In the portrait of the Jeongguk·Jeongnan wearing a Sibok HeukDanryung, the height of the Samo lowered from the Jeokgae was maintained, while the parietal part was slightly narrowed and bent forward. The side wings of the Samo were expressed as an oval with a uniform width, and still the pattern was not expressed on the side wings. The pattern was not expressed in the costume of the Danghagwan's portrait, but the cloud pattern began to be expressed in the costume of the Dangsanggwan's portrait. And the Danryung was expressed as single Danryung without lining. In the portrait of Dangsang, the red Dapho and green Cheolrik were expressed, and in the portrait of Dangha, the green Dapho and blue Cheolrik were expressed. Therefore, it was found that the color of the undergarment was distinguished according to the Dangsang and Dangha. In Danryung and Dapho, the 'in and out wrinkled Mu' were maintained. The shoes were expressed in Heukhwa, and the rank badge and rank belt reflect the Pumgye at the time of the appointment. On the other hand, the portrait of Wisa could not be confirmed, but through the recording painting of the reign of King Meongjong, it was found that it was similar to the Danryung system of the reign of King Jungjong. Through the 2^nd period of the meritorious vassal's portrait of Jeokgae, it was confirmed that the HeukDanryung outfit began to be used as the official uniform of the meritorious vassal's portrait, and that the Pumgye of the portrait production time was reflected in the portrait. After the meritorious vassal's portrait of Jeongguk, the pattern began to be expressed in the costumes, and in particular, it was possible to distinguish Dasang and Dangha by the presence or absence of the HeukDanryung's pattern. In addition, it was confirmed that the expressed aspect of the official uniform was consistent with the practices and regulations at the time.

• Journal of the Korean Society of Costume
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• v.26
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• pp.123-143
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• 1995

Clothing as one of elements of culture has been interwoven with cultural diffusion, and accompanied the most visible change. In this paper, it was focused that the process and the characteristics of western clothing adop-tion of Korea from 1876 to 1945 corelating with cultural diffusion theory. They were analyzed through the change of clothing reformation system by government, school uniform, and social phenomenon. The finding of this paper were as followings; 1. The process of western clothing adoption was forcibly demanded by Japan, therefore influenced by Japan. 2. The clothing reformation which was forced to accept western style was confronted by complex of cultural, psychological and economical resistance. 3. The fashion leaders of this period were Korean students studying abroad, diplomatic officials, members of the armed forces, government officials, students of western educational systemed school, and lady of evangelist. 4. Man adopted western clothing earlier than woman. 5. Western clothing adoption was took precedence in case of formal wear, diplomatic official's attire, military uniform, and school uniform. 6. In this process, we can find 'transculturation' by Malinowski and 'reinter-pretation' by Herskovits. 7. This process was a kind of 'reorientaion'. 8. The change of clothing which was affected by the tradition, for example, robe for the ancestral rites was evolutionary than others. 9. Clothing elements based on mental or internal characteristics like which clothing was hardly changed by compulsion or extortion. 10. The external trends of clothing change during this period were simplicity, utility, and decrease of status symbols.

• Journal of the Korean Society of Costume
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• v.20
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• pp.7-16
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• 1993

Influnced by the official uniform system of China, the colour culture of Korea has changed with time. The ancient colour has included the philo-sophical conception as well as the meaning of thoughts. Forming its tradition, the colour has been accepted in usual life. The philosophy of the Five Element has been developed in the area of Oriental culture and it has influnced to the colour of costume. The five colours(blue, red, yellow, white and black) as the Five Elements colours have disticted the social position. Owing to the fackt, the colour costume has preserved the important meaning. In accordance with the theory of the Five Elements the five colours of costume told its purpose, social position and age. Moreover the relationship among the Five Elements, the direction and the reason have been applied to it with time. Yellow and red have been usually used by kings and high ranking officals, white has been the basic colour for traditional Korean clothes, which hs indicated the integrity symbolizing our race. The Five Elements Colours preserving the theory of Korean the Five Elements have been the conception of Korean traditional colour and they have been developing as the meaning of custom.

• Journal of the Korean Society of Costume
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• v.5
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• pp.153-163
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• 1981

Since Korea opened the door to the Western World, traditional costume has changed. The factors of change are as follows: 1) Cultural diffusion by the cultural contact is the foundamental factor of the costume change. 2) The government made edicts of clothing reform. The formal dresses of government official were simplified several times, the edict was issued for men to cut off their hair, and military uniform and government officials' dresses were west-ernized. 3) The diffusion of modernized education by the missionary school accerlerated clothing change. Students were ahead of the abolition of Suege-Chima (which is a sort of veil used to conceal woman's face). 4) The change in the activity of women in society made the women's dresses more convenient for action. 5) The open class system and social agitation speeded up the rate of change. During the Yi Dynasty class distinction was rigid, but the government made the laws which abolished the class distiction.

• FLOWER RESEARCH JOURNAL
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• v.16 no.4
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• pp.325-332
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• 2008

This paper outlines the system and operation of plant variety protection right and plant patent of ornamental crops in USA to guide for application of new varieties developed in Korea and to use for national examination of applied variety from USA. The Plant Variety Protection Act(PVPA) in USA is given as PVPR to the developers of new variety for the seed propagating crops and tubers and provides as plant patent for asexually reproducing crops. A certificate of PVPR and plant patent is awarded to an owner of a variety has shown that it is new, distinct from other varieties, genetically uniform and stable through successive generations by official evaluation without the growing trial. The term of protection for plant patent and PVPR for most crops is 20 years but 25 years for trees, shrubs, and vines. The application of ornamental variety in USA is mostly for plant patent. The application of ornamental crops accounted for 87% of total applications for plant patent. The ratio of new variety applications for plant patent from national and foreign countries is not significant differences.

• Journal of the Korean Society of Costume
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• v.50 no.6
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• pp.109-125
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• 2000

As the result of the study of this thesis, the costume of Palhae and Shilla shows the many similarity. 1. The two centuries introduced the system of four-colored official uniform. This official uniforms are BokDoo(복두), DanLyung(團領) and Dae(帶). BanLyung of Palhae are GyulGoPo(결과포), leather belt and that of Shilla are GyulGoPo, YuLanPo(유란포), KwaDae(과대) Similarly BokDoo shows the long Gak(脚) in back. 2. Yu(유) and Ko(袴), the native costumes have worn even after the period of the three countries. 3. The two countries wore DanLyung. A man In Palhae wore GyulGoPo(결과포), leather belt and a man in Shilla wore GyulGoPo, YuLanPo(유란포), KwaDae(과대). 4. A woman in Palhae wore SangEui(上衣), Sang(裳), JikLyung(直領) one by one. And over Sang wrapped PoBaekDae(布帛帶) and covered the shoulder by UnGyun(雲肩). A woman in Shilla wore SangEui, Sang, PoBaekDea one by one and covered the shoulder by Pyo(표). 5. The two countries put on Rib(笠) and similary shoes. Rib insists of Moche(帽體), ChaYang(次養) and can classify the estate by decoration. A man wore Wha(靴), Li(履) and a woman wore KoDooLi(高頭履). This similarity is the result by the cultural interchange between Palhae and Shilla. There are the five reasons. Interchange by the envoy's visit. Interchange through Shillado(新羅道), Interchange in T'ang Dynasty, Interchange in Japan, Interchange of Buddhist culture. By the cultural interchange between Palhae(渤海) and Shilla(新羅), the shape of costume is similary. The meaning of this similarity of costume equals to the similarity of culture. We will approval Palhae is the co-subject of Korean history with Shilla and will name as "The period of NamBukKuk(南北國時代)" from the late 7th century to the early 10th century in the academy of the history of Korean Costume.

• Journal of the Korean Society of Costume
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• v.55 no.4 s.94
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• pp.38-48
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• 2005

This study is consider·ed about the relation or costume among Parhae, ancient Japan and Tang and the culture of this time commonly was influenced by Tang;s culture. The recorded items, which were exchanged from Parhae to Tang and ancient Japan, are the pelt of marten, seal, bear and tiger skin or Ammowhaha(암모화) Gu(구) and so on. Other items from Tang and ancient Japan to Parhae are various clothes and material like silk and so on. This Parhae's clothes made with leather obtained through hunting were the main product of Parhae and had been greatly famous in Tang and ancient Japan. At that time, Tang and ancient Japan had been only dependent on the agricultural life but had not been accustomed to the hunting life, and thereupon, the people in Tang and Nara Era had difficulties to get leather clothes. Accordingly, the leather products stood for the rich, and the people who purchased the leather products from Parhae were recognized as the rich. On the other hand, The prince and the royal family in Parhae were dispatched to Tang as Sooktwui(숙위). They paid a tribute to Tang and In return for it, Tang gave to Sookwui as well as to Parhae's envoys various items and clothes such as Po(포), belt(대), gold and silver Eodae(어대) and textile like a type of silk. These clothes were considered as the formal uniform like Kwanbok(관복) of Parhae. Specially, the time when Sookwui was sent to Tang rot-responded with the time when Tang gave formal uniform to Parhae's envoys. Therefore, we can confirm that the sending of Sookwui influenced to form uniform system of Parhae. In this exchange relation, there were several duplicated items showed, for example Po(포)-belt(대), Eui set(의일습), Eoeui(어의), Jobok(조복), Go(고). These items in Parhae were appeared in process of exchanging from Tang to Japan and from Tang to Parhae. At that time, the exchanges between Tang and Parhae were frequently active much more than those between Tang and Japan, and the acceptance of the culture from Tang was easier in Parhae than Japan in consideration of the geographical location. Therefore, those clothes could be understood as the items already used in Parhae and affected from Tang. These items in Parhae were appeared in process of exchanging from Tang to Japan and from Japan to Parhae. As a result, it is expected that the costumes, which Parhae took from Japan, are the same as those of Tang.

• Journal of Korean Society of Forest Science
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• v.100 no.2
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• pp.292-304
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• 2011

The purpose of this study is to draw institutional implications for tree cutting permit system improvement in comparison with Korea and foreign countries (German, Japan). A survey about recognition of cutting system and cutting-invigorating factors for two groups in charge of work for cutting permit (forest-official) and cutting operation (forest owner, tree butcher, forestry association, and forestry corporation) was carried out. The survey provides basic information which is necessary to improve current cutting system. The result of analysis about both German and Japan's cutting system show that clear cutting area to hinder function of forests tends to decrease and flexible final age of maturity considering condition of regional forest not uniform cutting age were applied. As a result of German and Japan's cutting system review flexible cutting system on regional characteristics is used to manage for the purpose of forest regeneration. The survey result about awareness and invigorating factors of cutting system represents that only public official group said final age of pine tree (3.13) and cedar (3.05) was proper and final age of other species of trees should have shortened. In matters of cutover area, current standard is less than 5ha per a felling area and the largest total area limit is 30 ha, only tree butcher, forestry corporation said cutover area must expand. Invigorating factors of current cutting system are reinforcement of cutover area, facility support, enrichment of technical training, increase of equipment support, simplification of administrative procedures, and provision of various benefits. The reinforcement of technical training among them especially represents the statistical significance of the participants' differential recognition.

• Journal of the Korean Society of Costume
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• v.26
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• pp.221-232
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• 1995

It was aimed to study the costume of Koryo dynasty based upon the one hundred and thirty four pictures of the engraved painting on the wood. The costume to study were made about 400 years during the King Mok-jong(1006) to the forth year of the king Wu based upon the Avatamaka Sutra and Pulsul-Yaesu 가) Men's wear 1. Hair style and hair dress ; Man tied up a top knot and they put on the hat such as a Kuan, Kun, and Mo. The young boys binds his hair up one, two, and three knots. 2. Clothes : 1) King wore an uniform of Mien-lu Kuan system. 2) The Crown Prince and high rank officials wore Yuan-yu-Kuan Won-jung-po-ju-Kuan, Sa-bang-Kuan, Yun-wha-Kuan and montain shape Po-ju-Kuan as a court dress. 3) Officials put on the Pok-du as an official dress and Won-jung-ip-mo, Kun and Mo as an everyday dress, the monk put on the diamond shape Do-kuan and Du-kun and the soldier put on the Helmet. Costume system of man was as follows ; They wore exchanged shape collar, big sleeve jacket, long skirt, apron, hanging precious stone big belt as a Mien-pok. 4) The soldiers wore helmet, Keun-Kap, Scarf, Pee-Bak, Hung-Kap, Pok-Kap, Yang-Dang-Kap, We-Yo-Kap, Kum-Kap, and caries arms. Lower-level officials wore Pe-Bal, Kun-Mo, gae, won-leung, very small sleve jacket, a long coat reaching up to the knee length, slacks, belt, loin cloth and apron. 5) Children's bind their hair up angle shape and wore a half long jacket raching up to the hip and slacks. 나) Women's wear; 1. hair style and hair dress; 1) High rank women's hair style was very extravaganceful. They made their hair top knot (one, two, or more knots) and decoraed precious stone, pan shape head dress, wheel shape head dress, and flower shape precious stone decorated head dress. 2. Clothes ; 1) High rank ladi's wore Kun-Kyun attached jacket, and jacket sleeves decorated pleats, and pleats decorated long skirt, apron, back apron, knot belt, scarf, this type is the same with Dang Dynasty, five dynasty of china, Song, Kum, Won, Myung Dynasty, and our costume of Poe-hae, and Shilla Dyansty. 2) Official ladies wore exchange shape collor, big sleeve jacket, long pleats skirt, apron, and back apron, scarf. 3) Women wore top knot hair style and decorated by ribbons. Shoulder scarf attached small sleeve jacket and wore reaching up to the knee length. Side seam is open and under wear was long skirt. 4) High knot hair style and exchanged shape collor jacket, under wear wore long skirt. They wore under skirts and the jackets. 5) High knot hair style, exchange shape collor jacket reaching up to the knee length small sleeve under wear wore long skirt, belt. 6) High knot hair style, big sleeve jacket and long skirt. 7) Foot wear wore boots, mokasin type shoes, sandal.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.162-175
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• 2014

This study focuses on Korea's traditional-style soryebok, in terms of its foundation, progression, and structural features. The research methods employed here include literature analyses of relevant laws and an official daily gazette, and practical analyses of artifacts and photographic documents. Especially, the artifacts of heukdannyeong(black uniform for officials with a round neck) in the form of chaksu(tight sleeves) were examined, which was regulated as soryebok in Eulmiuijegaehyeok. The term "soryebok" firstly appeared in "使和記略"(Sahwagiryak) written by Park Yeong-hyo, a foreign envoy to Japan, in 1882. Emperor's invitation written in the book asked him to wear daeryebok at the ritual and soryebok to the banquet. Soryebok was not adopted in Gapshinuijegaehyeok in 1884. However, several illustrated documents of the modern banquets at that time reveal that sabok, which was included in the 1884 reform, was used as soryebok. According to the Gapouijegaehyeok in December 1894, courtiers were required to wear heukdannyeong as daeryebok, and add juui(topcoat) and dapho(sleeveless coat) as tongsangyebok when they visited the royal palace. In Joseon's first daeryebok system, the term "tongsangyebok" that had been used in Japan was employed before soryebok was used. According to Eulmiuijegaehyeok in August 1895, the term "soryebok" originated from a costume ritual for courtiers of the Joseon Dynasty. Soryebok featured heokbannyeong chaksupo, samo (winged hat for officials), sokdae(belt), and hwaja (shoes for officials). There are around 24 artifact pieces of heukdannyeong in the form of chaksu(tight sleeves) in the following locations: garments of Prince Heungwangun and Wansungun, the court artifacts, Korea University Museum, Yun Ung-ryeol's family housed at Yonsei University, and Kyungwoon Museum. Artifacts have mu(godet) pulled back and a topcoat-like triangular mu. In conclusion, heukdannyeong, traditional-style soryebok has significance in the history of modern dress because streamlined traditional clothes and newly introduced Western dress system were able to be combined.